When I shoot portraits, I want to make the image as perfect as I can in the camera.…I feel that's the right way.…However, when I look at my pictures carefully, I see some small refinements I can make.…Let me show you some of them.…Here is Courtney. I was very happy with this image. I felt we had it, but as I…looked it a little closer, I saw a few little things.…For example, these are normal little specks and little hairs here, just not in the…perfect place. A little spot in their nose.…And then I wanted to soften this a little bit.…

It's normal, but we are conditioned to see such refinement.…So here is what I did. A very light hand. I have a very light hand when…I'm retouching.…I don't want people to look at the pictures and say oh, he's retouched her.…I don't want them to be aware that she's been retouched.…That's my philosophy on retouching.…So there she is.…I feel I have the right picture here.…Now there are a couple of other things I found.…Look at this.…I see a little problem here.…As I speak of that as a problem, it's a normal thing, but line of her dress and…

In this installment of the series, Douglas demonstrates how shooting in a studio allows for precise lighting control and consistency. The course begins with a look at the strobes and light modifiers that Douglas frequently employs for studio portraiture. Douglas positions the lights and then shoots a variety of portraits, demonstrating how he works with a model to capture different moods and positions.

Finally, he reviews the best images from the shoot, analyzing the lighting techniques he employed and showing how judicious use of Photoshop can enhance a portrait without making it look unnaturally processed.